I first came across Sylosis when they released their excellent ‘Conclusion Of An Age’ opus on the mighty Nuclear Blast label back in 2008. Around that time, it was starting to be reported that the British thrash scene – which, in my opinion, has always been a stop-start-stop-start sort of thing as bands on this side of the pond always have played catch up with, and been poorer cousins of, our trans-Atlantic brethren – was starting to make a comeback.
I remained to be convinced: grindcore and screamo seemed to be more the Brittanic take on the genre, but there was one thing that was certain – ‘Conclusion...’ was a damn fine album and one that continued to find its way into my CD player for a while to come.
Well, now the new look quartet have released the follow up, ‘ Edge Of The Earth’ – another damn fine slice of apocalyptic sci-fi thrash, although one, at least from the cover art and concept, seems to take a more primordial (sic) approach to the genre.
The doomy intro of ‘Procession’ soon sets the scene for what is to come: 14 slices of the best thrash you definitely are going to hear this year, if not in this decade so far. Vocalist Josh Middleton – taking over from the now departed Jamie Graham with great aplomb - growls and snarls through sets of suitably mythological storylines, while his guitar work interplays well with that of Alex Bailey (who also contributes some neat piano touches to some of the more low key moments, such as the ending of the epic double-track ‘Empyreal’), while the rhythm section of Carl Parnell and Rob Callard are as accomplished as any you will hear in the genre.
I am still to be convinced that British thrash ever will reach the status of, particularly, its West Coast progenitors, but on the evidence of this album, coupled with the re-emergence of Onslaught and the pending release of a new Primordial, erm, onslaught, (plus the efforts of relative newcomers such as Malefice) I would say the flag of the British Isles nevertheless can fly high and proud in early 2011.
Friday, 25 March 2011
Wednesday, 23 March 2011
Coverdale ‘snakes his way into ‘Forevermore’
There is absolutely no doubt that David Coverdale is one of the finest voices in the past four decades of heavy rock ‘n’ roll, standing up there alongside the likes of Robert Plant, Ian Gillan and Paul Rodgers as one of the definers of the sound in the 70s and 80s. Then, unlike the aforesaid – at least in my opinion – he seemed to lose his way in what has come to be defined the ‘poodle’ generation, with the Yorkshireman selling out to the LA-dominated big hair scene of the latter half of the 80s, early 90s
To be honest, I lost interest in Whitesnake when ‘Slip Of The Tongue’ came out. The band to whom I had creamed my jeans when I opened ‘Live.. In The Heart Of The City’ as a snattery 14-year old way back on Christmas morning of 1980 had become, within a decade, an irrelevance. The West Coast bands whom my one-time hero seemed to be attempting to emulate (when he should have been teaching them how to do it) were doing it all much better.
So, roll the clock forward some two-and-a-bit decades, and through my letterbox (well, actually delivered by UPS after a polite batter on the door of PC towers, as 12” vinyl doesn’t fit through my CD-sized delivery mechanism) pops possibly the most eagerly anticipated release of the year to date – ‘Forevermore’, courtesy of Italian-based Frontiers Records and Mr Coverdale and his current band of troubadours.
Well? Does it live up to the hype? Or am I going to continue to batter my copies of classics such as ‘Ready N Willing’ into submission?
The answer is WHAT THE FUCK? The opening riff of ‘Steal Your Heart Away’ snakes from my speakers like a cobra, entwining and embracing with all the love and embrace of the Marsden/Moody days, with today’s twin guitar attack of Doug Aldridge and Reb Beach easily bringing the sound of that mighty brotherhood smack into the 21st century. This is classic Whitesnake blues-based hard rock riffola, combined with Coverdale’s typically straight to the point, innuendo laden lyricism: “I want it all and I want it now” he doesn’t quite scream, but the emotion and the intent definitely are there, even if the vocals aren’t as quite as high pitched.
The rhythm section of Michael Devin and Briian (yes, that’s the way it’s spelt on the sleeve) Tichy are as tight and workmanlike as you would expect from a Whitesnake duo, giving Aldridge and Beach free rein to work their magic around Coverdale’s still majestic vocal delivery. OK, there are a few weak links - ‘Easier Said Than Done’, which closes side one is not quite as powerful a power ballad as one would expect – but there is more than enough here, in the likes of ‘Tell Me How’, ‘Love And Treat Me Right’, 'Dogs In The Street', ‘Fare The Well’, ‘My Evil Ways’ and the epic title track to welcome back hardened old fans such as myself back into the fold, as well as hopefully open the ears of a new generation to one of the greatest rock bands of all time.
· ‘Forevermore’ is available now on import from Frontiers Records – www.frontiers.it. It is released as a Classic Rock Magazine Collectors’ Edition on Friday (25 March), ahead of its proper UK release on 11 April.
To be honest, I lost interest in Whitesnake when ‘Slip Of The Tongue’ came out. The band to whom I had creamed my jeans when I opened ‘Live.. In The Heart Of The City’ as a snattery 14-year old way back on Christmas morning of 1980 had become, within a decade, an irrelevance. The West Coast bands whom my one-time hero seemed to be attempting to emulate (when he should have been teaching them how to do it) were doing it all much better.
So, roll the clock forward some two-and-a-bit decades, and through my letterbox (well, actually delivered by UPS after a polite batter on the door of PC towers, as 12” vinyl doesn’t fit through my CD-sized delivery mechanism) pops possibly the most eagerly anticipated release of the year to date – ‘Forevermore’, courtesy of Italian-based Frontiers Records and Mr Coverdale and his current band of troubadours.
Well? Does it live up to the hype? Or am I going to continue to batter my copies of classics such as ‘Ready N Willing’ into submission?
The answer is WHAT THE FUCK? The opening riff of ‘Steal Your Heart Away’ snakes from my speakers like a cobra, entwining and embracing with all the love and embrace of the Marsden/Moody days, with today’s twin guitar attack of Doug Aldridge and Reb Beach easily bringing the sound of that mighty brotherhood smack into the 21st century. This is classic Whitesnake blues-based hard rock riffola, combined with Coverdale’s typically straight to the point, innuendo laden lyricism: “I want it all and I want it now” he doesn’t quite scream, but the emotion and the intent definitely are there, even if the vocals aren’t as quite as high pitched.
The rhythm section of Michael Devin and Briian (yes, that’s the way it’s spelt on the sleeve) Tichy are as tight and workmanlike as you would expect from a Whitesnake duo, giving Aldridge and Beach free rein to work their magic around Coverdale’s still majestic vocal delivery. OK, there are a few weak links - ‘Easier Said Than Done’, which closes side one is not quite as powerful a power ballad as one would expect – but there is more than enough here, in the likes of ‘Tell Me How’, ‘Love And Treat Me Right’, 'Dogs In The Street', ‘Fare The Well’, ‘My Evil Ways’ and the epic title track to welcome back hardened old fans such as myself back into the fold, as well as hopefully open the ears of a new generation to one of the greatest rock bands of all time.
· ‘Forevermore’ is available now on import from Frontiers Records – www.frontiers.it. It is released as a Classic Rock Magazine Collectors’ Edition on Friday (25 March), ahead of its proper UK release on 11 April.
Wednesday, 13 October 2010
Wizzard tribute to Dio
Ahead of their debut Belfast gig, at Auntie Annie's on 7 November, LA retro metallers White Wizzard are to release a single dedicated to Ronnie James Dio.
‘Shooting Star’ is released on iTunes on 18 November, and is the first recording to feature the band’s new vocalist Peter Ellis.
The track is accompanied by a cover of the Dio classic ‘We Rock’. All proceeds from sales will go to the Children Of The Night charity, founded by Dio himself.
A limited edition seven inch vinyl version of the single will be available to by at the gig.
Tickets are still available for 7 November, through Katy Daly’s and Ticketmaster. Support is from Hastings-based Primitai.
‘Shooting Star’ is released on iTunes on 18 November, and is the first recording to feature the band’s new vocalist Peter Ellis.
The track is accompanied by a cover of the Dio classic ‘We Rock’. All proceeds from sales will go to the Children Of The Night charity, founded by Dio himself.
A limited edition seven inch vinyl version of the single will be available to by at the gig.
Tickets are still available for 7 November, through Katy Daly’s and Ticketmaster. Support is from Hastings-based Primitai.
Tuesday, 12 October 2010
This Guy is 'Living Proof' of longevity
The legendary Buddy Guy is to release his new album, ‘Living Proof’, on October 26.
Now 74 years old, the great blues man, who’s influenced everyone from Eric Clapton to Stevie Ray Vaughan and Jimi Hendrix, takes the opportunity on this album to look back at his life.
“The life I’ve lived is what we’re singing about,” he says.
“These songs are exactly what I came up through in my life, what I’ve experienced. When I was 21, some of my older friends, who are no longer with us, they’d say, ‘You’re still a baby’. And then they said the same thing when I was 31, then 41, and I thought, ‘Man, when do I get old?’ I’ve been hearing that ever since I first went to Chicago - ‘You’re still wet behind the ears’. So when do I get dry?”
With five Grammy Awards alone in a career than stretches way beyond 50 years, Guy is one of the all time great blues performers.
“Before the 60s, we were always just R&B players,” he says.
“Then they branded us - there was Chicago blues, Memphis, Motown, and so we were considered blues players. But in Chicago, if you wanted to keep your gig, you had to be able to play all the top tunes on the jukebox, whether that was Lloyd Price or Fats Domino or Ray Charles. Now if you play a Little Richard song, the audience looks at you like you’re crazy, but we always had to do that for a black audience back then.”
One of the things that makes this album so special is a duet, for the first time, between Guy and fellow living legend B.B. King. It’s on the song ‘Stay Around A Little Longer’.
Says Guy of King:
“B.B. created this style of guitar we all play. I grew up listening to people like him, T-Bone Walker, Muddy Waters, and I still take 95 percent of my playing from him. So to have someone like that in the room with you makes chillbumps come up on your skin.”
'Living Proof' - which also features Carlos Santana on 'Where The Blues Begin' - will be available on Silvertone/Jive Records.
Incidentally, Santana has just released a covers - yes, covers - album, 'Guitar Heaven', featuring his take on the likes of 'Sunshine Of Your Love', 'While My Guitar Gently Weeps'. 'Back In Black', Leppard's 'Photograph' and Van Halen's 'Dance The Night Away'. The album, which also features guest appearances by Chris Cornell, Scott Weiland, Joe Cocker and Gavin Rossdale, is available now on Arista Records.
Now 74 years old, the great blues man, who’s influenced everyone from Eric Clapton to Stevie Ray Vaughan and Jimi Hendrix, takes the opportunity on this album to look back at his life.
“The life I’ve lived is what we’re singing about,” he says.
“These songs are exactly what I came up through in my life, what I’ve experienced. When I was 21, some of my older friends, who are no longer with us, they’d say, ‘You’re still a baby’. And then they said the same thing when I was 31, then 41, and I thought, ‘Man, when do I get old?’ I’ve been hearing that ever since I first went to Chicago - ‘You’re still wet behind the ears’. So when do I get dry?”
With five Grammy Awards alone in a career than stretches way beyond 50 years, Guy is one of the all time great blues performers.
“Before the 60s, we were always just R&B players,” he says.
“Then they branded us - there was Chicago blues, Memphis, Motown, and so we were considered blues players. But in Chicago, if you wanted to keep your gig, you had to be able to play all the top tunes on the jukebox, whether that was Lloyd Price or Fats Domino or Ray Charles. Now if you play a Little Richard song, the audience looks at you like you’re crazy, but we always had to do that for a black audience back then.”
One of the things that makes this album so special is a duet, for the first time, between Guy and fellow living legend B.B. King. It’s on the song ‘Stay Around A Little Longer’.
Says Guy of King:
“B.B. created this style of guitar we all play. I grew up listening to people like him, T-Bone Walker, Muddy Waters, and I still take 95 percent of my playing from him. So to have someone like that in the room with you makes chillbumps come up on your skin.”
'Living Proof' - which also features Carlos Santana on 'Where The Blues Begin' - will be available on Silvertone/Jive Records.
Incidentally, Santana has just released a covers - yes, covers - album, 'Guitar Heaven', featuring his take on the likes of 'Sunshine Of Your Love', 'While My Guitar Gently Weeps'. 'Back In Black', Leppard's 'Photograph' and Van Halen's 'Dance The Night Away'. The album, which also features guest appearances by Chris Cornell, Scott Weiland, Joe Cocker and Gavin Rossdale, is available now on Arista Records.
Thursday, 7 October 2010
EXIT set the record straight
The following is a statement I have received from EXIT regarding the events at Auntie Annie's this past Tueday evening. I have not edited it in any way, and I am more than happy for them to give their version of events:
====================================
I was directed to your blog post about the band and I just wanted to get it touch and explain both sides of story.
I'm not asking you to retract the blog, your perfectly entitled to post whatever you wish due to the frustration you feel as a paying customer. But I just wanted to set the record straight before things get out of hand.
When we arrived for soundcheck due to the illness of our singer (who was suffering from a throat infection and could hardly speak) we asked all the bands if someone else wanted to go on last/Headline so as our singer could get back home to bed. However, no-one was willing to swap with us.
So when the night run way out of control timewise meaning we had no real set time our drummer lost his cool. This was done without the drummer speaking to the other members of the band. This resulted in the other three members being equally in shock as the crowd in the venue as he packed up his gear. Leaving us feeling very embarrassed as we had agreed to go on and at least do a song or two before we were told to stop due to curfew or our singers voice gave up. The remaining members of the band all asked the drummer to stop packing up and play the gig. We have since had strong words with our drummer and he has apologised to the promoter and the other members of the band.
Due to the fact the gig ran over schedule we were left to play at most a 15min set before curfew.
To anyone who was at the show we would like to apologise on behalf of our drummer who pulled the show for the band. As a band we had been looking forward to the show for a while as its not often you get a lineup of this strength. We are also personally offering refunds, a free guestlist place to our next gig and a free copy of our current EP to anyone who feels insulted by the bands non-performance. We have already refunded several people who were in the venue, several other people refused the refunds and understood the situation from our point of view, so they were given free copies of our current EP.
If anyone at the gig wants a refund or a put on the bands guestlist for their next show feel free to get in touch exitonline@hotmail.co.uk
====================================
I was directed to your blog post about the band and I just wanted to get it touch and explain both sides of story.
I'm not asking you to retract the blog, your perfectly entitled to post whatever you wish due to the frustration you feel as a paying customer. But I just wanted to set the record straight before things get out of hand.
When we arrived for soundcheck due to the illness of our singer (who was suffering from a throat infection and could hardly speak) we asked all the bands if someone else wanted to go on last/Headline so as our singer could get back home to bed. However, no-one was willing to swap with us.
So when the night run way out of control timewise meaning we had no real set time our drummer lost his cool. This was done without the drummer speaking to the other members of the band. This resulted in the other three members being equally in shock as the crowd in the venue as he packed up his gear. Leaving us feeling very embarrassed as we had agreed to go on and at least do a song or two before we were told to stop due to curfew or our singers voice gave up. The remaining members of the band all asked the drummer to stop packing up and play the gig. We have since had strong words with our drummer and he has apologised to the promoter and the other members of the band.
Due to the fact the gig ran over schedule we were left to play at most a 15min set before curfew.
To anyone who was at the show we would like to apologise on behalf of our drummer who pulled the show for the band. As a band we had been looking forward to the show for a while as its not often you get a lineup of this strength. We are also personally offering refunds, a free guestlist place to our next gig and a free copy of our current EP to anyone who feels insulted by the bands non-performance. We have already refunded several people who were in the venue, several other people refused the refunds and understood the situation from our point of view, so they were given free copies of our current EP.
If anyone at the gig wants a refund or a put on the bands guestlist for their next show feel free to get in touch exitonline@hotmail.co.uk
Wednesday, 6 October 2010
Exit stage... er... rear
To me, there always has been a problem with the Belfast (and Norn Iron) rock scene: it’s one I’ve ranted about before, and probably will continue to rant about at length in the future, and that’s the lack of support for it...
But, when bands start behaving like complete and total fucking arseholes... well, can you blame people for not coming out to support them and instead saving up their pennies to go and see disappointing major league ‘rock stars’?
Case in point tonight: EXIT. A band who did exactly what their name says. Exit the fucking building without playing a note. Yep, stormed off in a huff.
You get the chance to headline a four band bill – ABOVE two of the best live bands in our wee country – and what do you do? Walk on stage and strip your kit?
OK, so things are running slightly behind schedule! Trucker Diablo have been their usual awesome selves! So what, you’re a fucking rock band. Get on stage and do your stuff... don’t send out a lamb to be slaughtered by three – yes, three – promoters, all of whom want to see if you’re worth booking.
Tell you what boys: stop being boys, grow up fast and become men. Rise to challenges. There’s three promoters in this city you’re going to have to work VERY hard to convince you’re even worth opening a four band bill...
But, when bands start behaving like complete and total fucking arseholes... well, can you blame people for not coming out to support them and instead saving up their pennies to go and see disappointing major league ‘rock stars’?
Case in point tonight: EXIT. A band who did exactly what their name says. Exit the fucking building without playing a note. Yep, stormed off in a huff.
You get the chance to headline a four band bill – ABOVE two of the best live bands in our wee country – and what do you do? Walk on stage and strip your kit?
OK, so things are running slightly behind schedule! Trucker Diablo have been their usual awesome selves! So what, you’re a fucking rock band. Get on stage and do your stuff... don’t send out a lamb to be slaughtered by three – yes, three – promoters, all of whom want to see if you’re worth booking.
Tell you what boys: stop being boys, grow up fast and become men. Rise to challenges. There’s three promoters in this city you’re going to have to work VERY hard to convince you’re even worth opening a four band bill...
Tuesday, 28 September 2010
Y&T melt Belfast
If you're going to kick off a European tour, there are only two ways to do it - in Belfast and in style.
And Y&T did exactly that, when they delivered a set that really could reduce this review to two simple words: fucking awesome! Or, outstanding as my mate Wez constantlt repeated throughout the night.
All too often, Belfast audiences are cheated by visiting legends: but, it's only been a little over 12 months since Y&T graced the stage of the Spring And Airbrake, and so they knew what to expect from the crowd - and exactly what that crowd expected from them in return. And they didn't disappointed, more than sating that expectation with two and a half hours of some of the best rawk n roll you're likely to hear, well, this side of San Francisco.
It didn't get off to the best of starts, mind you. As the booming intro tape of 'Prelude' died, Dave Meniketti stood mid-stage with nothing happening: his guitar wasn't plugged in. As his faithful tech rushed to remedy the situation, the affable Californian merely looked the audience square in the face and muttered, "O fuck!", before belatedly ripping into opener proper "On With The Show". Just as the band hit their stride with a magnificent "Mean Streak", sound problems resurfaced: this time it was guitarist John Nymann who was the victim, leaving Meniketti to save the day with an impromptu solo rendition of "Hang 'Em High".
But, you don't stay in the dirty old business that is rock n roll by not being on top of your game at all times, and the band quickly overcame this latest difficulty and (despite continuing wails of feedback for the next 40 minutes or so) delivered one of the most kick ass sets this town has ever seen.
Early highlights came in the form of "I'm Coming Home" and an awesome "I Believe In You", at the end of which I swear Meniketti was close to tears at the reaction, before blistering versions of "Black Tiger" and "Bar Room Boogie". Highlight of the new material from the excellent "Facemelter" album had to be the rocking "Blind Patriot", while "Dirty Girl" had the whole place singing and dancing on their seats.
Two hours in (well, Meniketti had promised us at least that), the MTV-generation hit "Summertime Girls" kept up the momentum, before the fantastic "Forever" finished proceedings on a high - and, we could have gone on forever. Of course, the band weren't going to get away that easy and were soon back: "OK, that's the first half of the show over, we've another 24 songs to do," joked Meniketti, But, I didn't hear anyone complaining, as blistering versions of "Midnight In Tokyo", "Open Fire" and "Rescue Me" finally brought the curtain down on a set that I timed at exactly two hours and 31 minutes.
With the only down side being the absence of Phil Kennemore, Y&T nevertheless proved that, more than 30 years into their career, they still can deliver the goods, first class, special delivery. God help the good people of Petaluma, wherever the fuck that is, when the tour finishes there in a few weeks' time.
And Y&T did exactly that, when they delivered a set that really could reduce this review to two simple words: fucking awesome! Or, outstanding as my mate Wez constantlt repeated throughout the night.
All too often, Belfast audiences are cheated by visiting legends: but, it's only been a little over 12 months since Y&T graced the stage of the Spring And Airbrake, and so they knew what to expect from the crowd - and exactly what that crowd expected from them in return. And they didn't disappointed, more than sating that expectation with two and a half hours of some of the best rawk n roll you're likely to hear, well, this side of San Francisco.
It didn't get off to the best of starts, mind you. As the booming intro tape of 'Prelude' died, Dave Meniketti stood mid-stage with nothing happening: his guitar wasn't plugged in. As his faithful tech rushed to remedy the situation, the affable Californian merely looked the audience square in the face and muttered, "O fuck!", before belatedly ripping into opener proper "On With The Show". Just as the band hit their stride with a magnificent "Mean Streak", sound problems resurfaced: this time it was guitarist John Nymann who was the victim, leaving Meniketti to save the day with an impromptu solo rendition of "Hang 'Em High".
But, you don't stay in the dirty old business that is rock n roll by not being on top of your game at all times, and the band quickly overcame this latest difficulty and (despite continuing wails of feedback for the next 40 minutes or so) delivered one of the most kick ass sets this town has ever seen.
Early highlights came in the form of "I'm Coming Home" and an awesome "I Believe In You", at the end of which I swear Meniketti was close to tears at the reaction, before blistering versions of "Black Tiger" and "Bar Room Boogie". Highlight of the new material from the excellent "Facemelter" album had to be the rocking "Blind Patriot", while "Dirty Girl" had the whole place singing and dancing on their seats.
Two hours in (well, Meniketti had promised us at least that), the MTV-generation hit "Summertime Girls" kept up the momentum, before the fantastic "Forever" finished proceedings on a high - and, we could have gone on forever. Of course, the band weren't going to get away that easy and were soon back: "OK, that's the first half of the show over, we've another 24 songs to do," joked Meniketti, But, I didn't hear anyone complaining, as blistering versions of "Midnight In Tokyo", "Open Fire" and "Rescue Me" finally brought the curtain down on a set that I timed at exactly two hours and 31 minutes.
With the only down side being the absence of Phil Kennemore, Y&T nevertheless proved that, more than 30 years into their career, they still can deliver the goods, first class, special delivery. God help the good people of Petaluma, wherever the fuck that is, when the tour finishes there in a few weeks' time.
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